Arthur Miller was a very successful writer and playwright, Death of a Salesman is Miller’s most significant work, a play that quickly became an American classic. The play has frequently been produced and each production interprets it differently (Kirszner 1292). This leads to the question of whether or not a play’s magnitude can be reached through film as well. Usually, when a book or film is adapted into a movie, certain elements change or are omitted all together. Director Volker Schlöndorff’s version of Death of a Salesman remains true to the play with very little deviation; the movie’s characters, tone, and setting closely correlate with the play.
As director the nuances of his genius are processed through many stages to reach an elite level of cinema very few have had the privilege to ascertain. Morgan Freeman describes the film as "a film with heart." However true, the drama is the main component of the film as it provides the majority of tension and ultimately the resolution. With the screenplay written and directed by the same person he was granted complete creative control over the characters first created by Steven King. Darabont’s fictional retrospective provides much drama but not without astounding the audience with such precision and prowess only he could complete.
Some of his most acclaimed work has been from movies that were based on true stories. When Washington does these real life stories he finds characters that have over come many difficulties in their lives and end up winning. So by Washington starring in roles where he always ends up a winner he is creating an image in the viewers mind that he is a winner. When the audience leaves the movie they remember what great things Washington did to turn out the way he did. Many people have a hard time separating movies from the real world and some people assume the character is that person in real life Denzel Washington is the first African American male to win an Academy Award for the Best Male Actor category.
.) Many would call Morricone a musical genius, and he is just that. He did an outstanding job at translating the emotions he felt when he chose music for this film. When we watch movies, the music plays a very important role in how we connect to the movie and the emotion or feelings that we the directors are trying to portray. Music was such a key component that went into making this movie.
On the Waterfront On the Waterfront is a timeless film that centers on the Dock Workers of New Jersey in the 1950’s and one man’s pursuit of justice and redemption. On the Waterfront was based on a series of investigative pieces published in 1949 by New York City journalist Malcolm Johnson, for which he won a Pulitzer Prize (SparkNotes LLC 2004). The film’s authenticity resonated with audiences. The genuineness of the location, the realism of mob corruption, symbolism and a superb cast and director all lend themselves to films endurance. Although considered one of the best films ever created, it is not without controversy.
English Essay- ON THE WATERFRONT The film presents clear cut heroes and villains and a black and white view of morality. Do you agree? The film “On the Waterfront” is an academy award winning film, set in the early 1950s. Through its director Elia Kazan the film uses a variety of production techniques to display the idea of clear-cut heroes and villains, and a black and white view of morality. Throughout the film “On the Waterfront”, Kazan sets out to depict these principles, throughout the characters Terry, Eddie, Father Barry and Johnny Friendly.
But what does Roger Ebert say about Casablanca? On his webpage he says: “If we identify strongly with the characters in some movies, then it is no mystery that ‘Casablanca’ is one of the most popular films ever made. It is about a man and a woman who are in love, and who sacrifice love for a higher purpose.” He goes on to say that
In this movie which was shot entirely in Austin, Texas the hometown of Linklater with a budget estimated at $23,000 ; Linklater doesn't just influence young filmmakers in america with his low budget movie, he also coined the term “Slacker” which is associated with laziness and apathy, and often used to describe young people. With time, “Slackers” gained popularity and became a classic cult movie to a whole generation, due it's style of nonlinear narrative and its intellectual conversations, which became one of the main elements of Linklater cinema. Before he became a director in 1985, Linklater founded the Austin Film Society, to showcase experimental, foreign, and obscure art cinema. Through the years (AFC) grow up to host Texas Film Hall Of Fame and granting emerging young filmmakers in Texas “The Texas Filmmakers' Production Fund”, and most important than that, (AFC) members included Robert Rodriguez, Steven Soderbergh, and Quentin Tarantino where they considered in cinema circuit greater than Linklater. So Linklater is not
Fellini’s Departure from Neo-realism In my opinion, the films, “Nights of Cabiria” and “La Dolce Vita” to be the best films our class have seen so far. It left me in awe and absolutely stunned. They were both beautifully produced, presented well and unmistakably Fellini fims “La Dolce Vita” gives us glimpse of a filmmaker that has moved far neo-realist his roots. The “Nights of Cabiria” had many more neo-realist elements than “La Dolce Vita” and therefore was a departure from neo-realism. “Nights of Cabiria” had some of the classic elements of neo-realism showing Cabria’s poor and broken troubles, she is just an ordinary person and throughout the movie you are just simply looking into her life, also there is a feel of onset location.
When discussing a film, audiences will recall its story line or characters to exemplify what the film was about. With an audience so focused on narration, a film’s structure is not decided on lightly. According to Luhr and Lehman, because a film’s narrative is crucial to its success, directors “have mastered a long-established and highly profitable tradition of narrative filmmaking- the classical Hollywood style” (29). The classical Hollywood style of narration requires that a film’s “plot should have a clear forward direction” (Luhr, Lehman 29). Every event should lead cleanly into the next to join in a unified whole.